Saturday, 14 April 2012 08:12
Written by Sharon Eberson
8-5? Really? That's one of those scores that ends the conversation or begins, so coming out of Pedersen Events Center to find that the Penguins had given up a lead(s) and lost again to the Flyers, it was hard to concentrate on the extravaganza we had just left, Cirque du Soleil's "Michael Jackson: The Immortal World Tour."
This was the most concert-like Cirque I've ever seen, and no wonder, because it was put together by Jamie King, who designs concerts for Madonna and Rihanna. As a tribute, the late King of surely would have loved the adoration and respect thrown his way. As entertainment, it was more is more, a continuous kaleidoscope of dancers, circus performers, lights, costumes and Michael Jackson's voice. The music is provided by an impressive combo of seasoned pros and performance artists (Tina Guo is like no other cellist you've ever seen) at rock concert-level loud, so if you put ear protectors on your kids at concerts, you might want to do the same here.
If your knowledge does not go deep into MJ's catalog, you may not recognize some of the 32 songs used by this production. The most touching tribute of the night for me was baby-faced Jackson 5 Michael on a giant screen singing "I'll Be There" with his frequent collaborator Greg Phillinganes in a lone spotlight, soloing on keyboard.
So much was happening at the same time in almost every other performance, it was difficult to concentrate on any one thing going on. The effect of a five-ring circus -- featured performers, dancers, giant projections, light shows and onstage musicians -- was a feast for the eyes at times and a focus stealer at others. A key-shaped thrust on the floor of the Pedersen was a feature spot for performers such as synchronized Ninja-style acrobats flipping and bellyflopping to "Scream." Why we needed three aerialists and distracting "Japanimation-inspired" projections during their routine, I don't know.
Even with dancers below and projections behind her, you couldn't take your eyes off of two-time world champion pole dancer Felix Cane, who contorts and balances 20 or so feet up and makes you wonder how a body can do that. Likewise spider-legged contortionist Baaska Enkhbaatar, who emerges from a giant book to "Scary Story" and puts up some freaky moves.
The crowd and over-the-top backgrounds were eye-popping in several big-production dance numbers, notably "Dancing Machine," with an intricate factory-like feel, the "Thriller" first-act climax and "They Don't Care About Us," with an army of robots with LED lights that signify question marks, dollar signs, peace symbols and hearts, all inspired by a number designed for the "This Is It" tour.
Some of the moves are distinctly Michael's, moon walk included, and the person at the center of the chaos who can move with the best of them is listed as "Mime," Salah Benlemqawansa, who is more ringmaster and lead dancer, in shiny white from head to toe. In the number "Mime," he said to be "inhabited by Michael Jackson's spirit" and owns centerstage.
The 90-minute opening-night show started about 20 minutes late and there's a 20-minute intermission, so if you're going today or tomorrow, that's something to consider. Security on the Pitt-campus required a quick pat down, and there were bomb-sniffing dogs in evidence near the wlll-call window.
The only bad news about the evening, though, was: 8-5. 8-5? Really?